Thursday, April 30, 2009

Originally released in the Spring of 1971. Paladin was the debut album from this creative band. Formed the previous year by Keith Webb and Pete Solley (both ex-members of Terry Reid's band), Paladin ... Full Descriptionencompassed all that was experimental in early 70's rock. Fusing the worlds of Jazz, Rock and ethnic Cuban music, Paladin's debut album was both powerful and rhythmic, in places echoing excursions by bands such as Traffic, Manfred Mann's Chapter Three and Ginger Baker's Airforce. Esoteric

Very dark and depressing Austrian progressive. Most of the tracks here are rather slow and kinda heavy, dominated by organ and a vocalist who sounds like absolutely EVERYTHING in life sucks! He sounds extremely depressed and tired. Judging from the lyrics, the band was religious, but they still seemed to have a very pessimistic view of life. Just check this lyric from "Blind Children": Try to call yourself on the phone/Surely You are Not at Home/Sweep the Swept Floor Once Again/Stab Yourself and Feel the Pain/. And this is only an excerpt from one song! I think the band had their own style, and even if the music ain't either very virtuose or perfectionisted, I still like it. And the organ sounds great. Worth having if you like 70's progressive.( http://www.vintageprog.com/ppp.htm )

Saturday, April 25, 2009

Phoenix is one of the most prominent Romanian Rock and Roll bands of the latest decades, and also the first one to take musical inspiration from ancient Romanian folk themes.

Formed in the 1960s, it began by doing covers of Beatles songs. However, they soon had to change their style since the Romanian communist regime disliked any form of western culture. The communist regime suggested that all rock oriented bands should look for inspiration within the Romanian culture. These restrictions made the band's leader Nicolae Covaci search within the Romanian folklore, which gave them a unique sound.

Wednesday, April 22, 2009

The roots of Pazop can be traced back to the story of three different Belgian groups, Wallace Collection, Waterloo and Arkham. Founded in '68, Wallace Collection, which was so called after a famous London Museum exhibiting masterpieces of various Flemish painters, included jazz man Marc Herouet on keyboards, Christian Janssen on bass, Freddy Nieuland on vocals and drums, both hailing from rock bands; guitarist and singer Sylvain Van Holme, from blues-rock band Sylvester Team and two classical musicians, violinist Raymond Vincent and cellist Jacques Namotte who both amplified their instruments. Sylvain had persuaded these two musicians from the Brussels Opera Orchestra to join the crossover band he was putting together. He wanted to play a kind of rock-meets-classical mixture which would subtly fit the beauty of classical themes as well as the sheer energy and typical rhythms of rock, in the vein of then-current groups such as The Nice, Ekseption and early Procol Harum. The group achieved an interesting synthesis of pop and classical, using real string instruments (violin, cello), yet amplified, instead of using electronic substitutes (such as mellotron) to reproduce orchestral sounds.Raymond Vincent composed "Daydream", a classical-sounding melody inspired, for its main theme, by the second movement of a Tchaikovsky string quartet, and, for the second part of the piece, by the melody of the same composer's "Dance of the Swan Lake". "Daydream" was released in early '69 and become a worldwide hit. Thanks to its phenomenal success, Wallace Collection gained an international star status and toured around the world, recording several albums and singles. The group was managed by Jean Martin. However, Christian Janssen left the group and was replaced by John Valque. Back from a Brazilian tour, disagreement between some members provoked the departure of John Valque, Marc Herouet, Jacques Namotte and Raymond Vincent. Nick Roland and American Scott Bradford replaced Valque and Herouet respectively. Serge Gazarian replaced Jacques Namotte but played violin. Freddy Nieuland and Sylvain van Holme searched for a second violinist to replace Vincent, who had by then joined Esperanto, a big band comprised of musicians from several countries (England, New Zealand, Belgium, etc.)

Monday, April 20, 2009

The Blues Train, like The Crazy People, are unknown artists that released some great sounds in the late 60’s and early 70’s. While little is known about them, we do know they were Canadian and recorded The Blues Train on the Burnaby, British Columbia-based Condor label in 1970. Condor has gone down in history as a Canadian exploit label and they were indeed on the crest of the different crazes that were going on during these times. Condor released quite a diversified line of music during the late 60’s: everything ranging from the weirdness of The Crazy People to Latin Holiday to the highly-rated Blues Train, The Surf Riders, and The Jimmy Cole Unlimited.

As with The Crazy People, there are several rumors circulating as to actually who The Blues Train were. The most plausible theory shared by both Clarke Faville and myself is that one of its members was Johnny Kitchen, who has songwriting credits on both this LP and on other Condor releases The World With The Trio Of Tyme and The Crazy People. It is a known fact that he was in Canada at this time and obviously associated with the label. Kitchen ended up in Los Angeles in 1969, making records beginning with The Victims Of Chance on the Crestview label. As arcane as this might seem to the casual reader, his name is synonymous with at least a dozen weird underground records released on various private labels in the US, and still nothing is known about them. To date, Johnny Kitchen has over 200 songs copyrighted through BMI!!

We also know there is a connection with Johnny Kitchen to Wild Man Fischer. His 1969 LP Life Brand New, has the chorus “My life is all brand new”, which is the same voice and words appearing on the “Parade At The Funny Farm” and “Let’s Split” of The Crazy People LP. However, other Blues Train song writing credits that never appeared on the original Condor release do not match any others from The Crazy People. The inclusion of only one by Kitchen himself implies his involvement on Blues Train, unlike that of The Crazy People, may have been minimal.

Although all performers are uncredited, there has also been some speculation that a prominent Vancouver “personality” (and local TV weatherman) was involved in putting together the “Rock” oriented exploit efforts on this label, and it is also likely that some of the musicians involved also appear on the Blues Train, Jimmy Cole Unlimited, and other Condor albums. Jack Millman, who has songwriting and production credits on Crazy People, also is shown as involved with the Condor release And I Love Her by Jack Millman and the Tempo Orchestra. In addition, Jack Millman, along with Jean Daniel Productions, produced The Blues Train.

Friday, April 17, 2009

Back in the 1970s, jazz was a rare commodity in Israel. I first discovered it's existence in a tiny club run by an American expat named Charlie, just behind Yafo Rd in the center of Jerusalem. There I heard this incredible band, Platina. I wasn't generally a jazz fan, but this band was special. Formed originally by Arik Einstein around the core of Kunsman and drummer Kaminsky, the band included several of Israeli's best musicians over its five year existence. They released a first, rather stiff album, the inappropriately named "Live at the Barbarim," a better, ECM-influenced album, "Freedom," backed BB King in Israel, got invited to the Newport Jazz Festival, and then came out with their most amazing batch of music ever, centered around a jazz version of Debussey's "Girl with the Flaxen Hair."

I had a recording of the band playing the music live on the radio, taken via horrible mike into a cassette player, and that got stolen. But I never forgot the music—which was just as well, because something happened to the studio tapes and in the meantime, feeling that they had taken the music as far as it was going to go, the band broke up. In an interview with band-leader Roman Kunsman at the time, he complained about trying to make a band playing international music work in such a small country surrounded by enemies. Kunsman, himself, spent a lot of time in the US and Europe. Among other recordings, he is memorialized in some marvellous recordings with Moshe Berlin's amazing band, "Sulam". Kunsman passed away in 2002, and as a memorial, the band gathered what tapes they could find, substituting live recordings for the lost studio recordings, and this CD was released by the now comatose MIO label in 2003.

This is wonderful jazz. The band including Kunsman's flute, the amazing drumming of Arele Kaminsky (who continued to lead the most amazing Wednesday night jam sessions in Jerusalem for years), one of Israel's most accomplished rock guitarists (Tamuz, et al) Haim Karyo, as well as scat vocals by pop star Riki Manor and bass by Lev Zabeginsky. Original keyboard player Alona Turel had, by now, been replaced by Yakov Erlich and Bernie Senensky.

band liveIf Debussey played jazz, this is what it would sound like. The long title track remains one of my favorite pieces, and this my favorite version. On the closing number the band takes on a harder jazz-rock sound, around Karyo's guitar, which I love, as well. On the piece, "Africa", Kunsman shows his Coltrane influence, but also a Middle Eastern sound that predates modern bands such as Bustan Abraham. I miss Kunsman, although not nearly as much, by all accounts, as he is missed by those who played with him and knew him well. This CD, along with Sulam, provide some explanation of why his music was so influential and so beloved. Many thanks to MIO for digging these tapes up and making them available. Spread the word and get copies for all of your friends.

Their debut album, originally released on Basf in 1974, is one of the crown jewels of Spanish hard rock, and changes hands for a small fortune among collectors all over the world. This LP really rocks. It's high energy hard rock that follows the line marked by the big organ outfits of the era: Deep Purple, Atomic Rooster, Bram Stoker, Megaton, a.o. It has also a deep classic prog sound root, which reaches the top on 'Un Señor Llamado Fernández De Córdoba'.

Saturday, April 11, 2009

Buffalo Springfield is the self-titled debut album by folk rock band Buffalo Springfield, released in 1966 (see 1966 in music). It was originally released in both mono and stereo versions as Atco (SD) 33-200, but when the single "For What It's Worth" became a hit, the album was re-released as Atco (SD) 33-200A and added "For What It's Worth", but dropped "Baby Don't Scold Me". "Baby Don't Scold Me" has never been reissued in stereo: all CD releases feature only the mono mix. The band was generally unhappy with the sound of the album and felt that it didn't reflect the intensity of their live shows.

Thursday, April 9, 2009

A searingly sonic set from the Iowa scene of the 70s -- a live recording by the little-known Truth & Janey group, and one that's filled with enough hard-wailing guitar to blow away bigger groups on both sides of the Atlantic! The vibe here is more 1969 than 1976 -- power trio rock with loads of wicked guitar, played with a really heavy sort of sound -- with monstrous support on bass and drums, in a three-pronged approach that almost outdoes Cream at their own game -- and challenges Black Sabbath for early guitar-blasting force. Titles include "No Rest For The Wicked", "Tunnel Of Tomorrow", "Building Walls", "A Child", "Universal Light", "As I Am", "Ain't No Tellin", "Hard Road", "White Bread", and "One Down One To Go"

Tracks :

1.No Rest For the Wicked2.Birth of the Heart3.Universal Light4.Child, A5.Building Walls6.Tunnel of Tomorrow7.Light, The8.One Down One to Go9.White Bread10.My Mind11.As I Am12.Ain't No Tellin'13.Hard Road

Tuesday, April 7, 2009

Recorded in concert (though at 53 minutes, it's short for a two-disc set), Alive finds this Canadian band mainly offering unexceptional early-1970s drumless folk-rock. Most of this has obvious debts to laidback singer-songwriters of the period; "Sailboat" can't help to recall early-'70s James Taylor, while other songs, and the vocal harmonies in general, carry a strong whiff of Crosby, Stills & Nash. Some female vocal backup and piano flesh out the arrangements a little, but generally these are bland derivations of some of the leading lights of the era. One wonders if "I Spun You Out" would ever have been written, for instance, if Stephen Stills' "4 + 20" hadn't already appeared on Crosby, Stills, Nash & Young's Deja Vu album. Throw in the Band as inspiration as well, with "Uncle Jed" emulating the easygoing roots music of that group, down to the gospel-like choruses. If you're looking for a more exotic reference point, "Tractor Song" sounds kind of like the country-rockish songs that Sal Valentino sang with the Beau Brummels in the late 1960s. Breaking up the tracks is some self-indulgently humorous spoken patter, including a couple of unfunny hammy theatrical spoken pieces that are jarringly out of place. ~ Richie Unterberger, All Music Guide

Tracks :

You Ain't Goin' Nowhere Sailboat Broken Wing Take a Look at the Light Side Stratford People People Are Out of Tune Hezekiah Stories of Old Pilgrim Welcome Surprise I Spun You Out Tractor Song Uncle Jed

Friday, April 3, 2009

Pure Food and Drug Act was a band that was formed in the early 1970s based on the talent and charisma of Don "Sugarcane" Harris. The band began with Paul Lagos (sideman with Johnny Otis, John Mayall ) on drums, Larry Taylor (original member Canned Heat), sideman John Mayall, Tom Waits on bass and Randy Resnick on guitar. Resnick was at that time experimenting with one and two handed tapping technique which was later to become a standard guitarist's tool. The group played small rooms in the Los Angeles area for several months, among which the Troubador and the Ash Grove.

While the band began searching for a record deal, Larry Taylor began to tire of Don's constant lateness and irresponsibility and decided to continue his career with Mayall. At the same time, Harvey Mandel, also a Mayall alumni, was brought in to beef up the accompaniment and to stimulate record label interest, since he had a following from his Chicago blues days. To replace Taylor on bass, a relative newcomer, Victor Conte, was recruited from Comman Ground, a funk band in Fresno that Resnick had played in. Conte went on to play in Tower of Power and with Herbie Hancock in his "Monster Band". Ironically, he also was at the center of a steroids scandal years later. Articles about this story always mention the name of the least famous of Victor's bands, the Pure Food and Drug Act.

Choice Cuts was the band's only album, recorded live in Seattle in 1972. Because of Don's unreliable nature, the band rarely rehearsed, but they did boil over in live performance, with extended solos and improvised ensemble sections. One song would often last 20 minutes or more.

The band had little success with their album (which although recorded live did not reproduce the true live feeling) various changes took place until it broke up altogether a few years after it began. A Choice Cuts CD has been re-released.

Wednesday, April 1, 2009

Corvus Corax is a German band known for playing medieval music using an abundance of authentic instruments. Their name is the scientific name for the Common Raven. The band was formed in 1989 by Castus Rabensang, Wim (Venustus) and Meister Selbfried ("Master Selfpeace") in East Germany. The band often uses bagpipes as the solo instrument; their live performances attract attention with the bizarre look of the musicians being reminiscent of ancient Greek myths: half-naked, dressed in unusual clothes, wearing different ancient-like decorations, often tattooed.

Today the band consists of eight members: Ardor vom Venushügel ("Ardor from the pubic mound"), Castus Rabensang ("Castus Ravensong"), Patrick der Kalauer ("Patrick the groaner"), Harmann der Drescher ("Harmann the thresher"), Hatz ("hunt"), Jordon Finus, Teufel ("devil") and Wim (Venustus). In May 2005 Meister Selbfried, one of the Corvus Corax founders and the researcher of medieval music, decided to cease his active musicianship and to dedicate himself mostly to managing Corvus Corax's own label Pica Records.[1] His place in the line-up was taken by Jordon Finus in 2006.

The band releases its music through Pica Records in Europe and Noir Records in the USA. The Cantus Buranus projects have thus far been released in Europe by Roadrunner Europe.

Corvus Corax is one of the group most known of néo-medieval rock'n'roll in Germany. The creators of the group are Castus and Venustus . Venustus (Wim) builds itself its instruments (Bagpipes, flutes,…). Corvus Corax also finds under the name of Tanzwut with in this case an electronic addition of instrument.